PRICE 25 OIEIfcTTS. 





AMES' Series of 

STANDARD AND MINOR DRAMA. 



i^"' 



THE SPY OF ATLANTA, 

A GRAND MILITARY ALLEGORY 
IX SIX ACTS, 



A. D. AMES & C. G. HARTLEY, 



bsi 

o 

b 

a 



H72T/r CJST OF C//,4 JM CTERS, ENTRA NCESAND EXITS, RBI. A Tl VE 
POSITIONS OF THE PERFORMERS ON THE STAGE, DE- 
SCRIPTION OF COSTUME, AND THE WHOLE OF 
THE STAGE BUSINESS, AS PERFORM' 
EH AT THE PRINCIPAL AMER- 
ICAN AND ENGLISH 
THEATRES. 



CLYDE, OHIO. 

A. D AMES, PUBLISHER, 




AU1KS' «T.ni)ARI> %>!> MINOR l»U4Ht 



FIFTEEN CENTS PER COPY. 






1. MR. AND MRS. PRINGLE, A comic interlude in one act, 7 male, 4 fe- 
male characters. A very funny afterpeice. A light plot hinging upon the fact 
that Mr. Piiijgle who lias a honor of children, marries as he supposes a widow 
of about fifty, without any. The situations as the children appear one by one, 
are vei y funny . Scene, a drawing room. Time of performance 45 minutes. 

2. A DESPERATE GAME, A comic drama in one act, by John Madison 
Morton, 3 male 2 female characters. Scenery, simple in-door sets. It is very 
funny and since its publication ha.' been performed often and with great suc- 
cess. Time of performance 45 minutes. Every company should have it. 

3. THE LADY OF LYONS. Nothing need be said in praise of this play. 
It is by Bulwer, and has 12 male and 2 female characters. A favorite with all 
great players. It abounds in eloquent declamation. Time of playing, 3 hours. 

4. RICHELIEU. A play in 5 acts, by Bulwer. 12 males and 2 females. 
Time in representation, about 3 hours. 

5. WHEJS WOMEN WEEP. A comedietta in 1 act, by J. Newton Gotthold. 
3 males. 2 females. It is an old saying that if women will w-eep, their husbands 
or lovers will grant any favor. This shows how it is done. Scene » parlor. 
Time of perfotmance 30 minutes. 

6. THE STUDIO. An Ethiopean farce m 1 act for 3 males. Very funny. 
Some very amusing experience in artist's studio is given. Just the farce for am- 
atuer minstrels. Easily produced. Time of performance 20 minutes. 

7. THE VOW OF THE ORNANI. A drama in 3 acts, by J. Newton Gott- 
hold, 7 males, 1 female. Capital parts for hading man, two old men, and leading 
lady. Will he found a good drama in every respect. One hour. 

8. THE BETTER HALF. A comedietta in 1 act, by Thos. J. Williams, 5 
male 2 females. Time, present, costumes modern. "Julia" in this play is al- 
ways a favorite character with actresses. We have also a fop, a pouty old fellow, 
a husband who is not half as much of a man as his wife, etc. A tiptop play. 
Time of perfoimance 50 minutes. 

9. LADY AUDLEY'S SECRET. A drama in 2 acts by Wm. E. Suter, 6 
male 4 females. In addition to being a favorite stock play with the profession, 
it is always in good demand from amatuers. The character of Lady Audley is 
one of the best for leading lady. It has leading men, old man, and two first- 
class comedy parts. All who have read the celebrated novel by the same name 
will want the drama. Time of representation 1 hour and 40 minutes. 

10. STOCKS UP AND STOCKS DOWN. A dialogue in 1 act, 2 male char- 
acters. Costumes exagerated, evening, and dilapidated. i*cene a street. Ex- 
tremely ridiculous. Time of performance, 10 minutes. 

11. JOHN SMITH. A farce in 1 act by W. Hancock, 5 male 3 females. This 
farce must not he confounded with "John .Schmidt," as there is no similarity, 
this one heing much more laughable. The character of "Old John Smith" "is 
immensely funny, and will keep an audience in roars of laughter whenever he 
appears. A favorite farce, every character good. Cost nines simple. Scenery 
plain room. Time of playing, 40 minutes.^ 

12. A CAPITAL MATCH. A comic drama in one act, 3 males, 2 females. This 
is one of John Madison Morton's best pieces, is very neat and easily produced. 
The scenery is simple, can he played in a parlor if necessary. Time 35 minutes. 

13. GIVE ME MY WIFE. A farce in one act by Wm. E. Suter, 3 male, ." fe- 
male characters. Easily produced, costumes modern. A dreadful misunder- 
standing in this farce which the name will imply, Order a copy and you will 
like it. Time of performance '■'•<> minutes 

14. THE BRIGANDS OF CALABRIA. A Mclo-Drama, in one act, by 
Wm. E. Suter, (I male, 1 female character. This is a capital play of the blood- 
and-tliunch r description, and abounds with sword combats, pistols, etc., etc. It 
also has ago. d ( omedy man, who always is very funny, and very hungry. This 
has always been a great favorite with all companies who have played it. Time 
of performance about 1 hour. 

15. AN UNHAPPY PAIR. An Ethiopian Sketch for two characters. Is a 
favorite little -ketch with all who play it. Cost umes exagerated. This is"Ni^- 
ver all over," and ought to he in the hands of every minstrel company. Time 
of performance, in minutes. 






J& 



The Spy of Atlanta. 

A GRAND MILITARY ALLEGORY, 

IN SIX ACTS, 



■BY- 



A. D. Ames and C. CL Bartley, 



together with 

synopsis of incidents, the original cast of characters, a description of the 
beautiful tableaux, entrances and exits, list of properties and _ 
the whole of the stage business, as performed un- 
der the direction of the authors. 



— „<>,-<2-fc^o4> 



Entered according to act of Congress, in the year 1819, by 

A. b. AMES, 
in the office of the Librarian of Congress, at Washington. 



[( Jfo. 



CLYDE, OHIO, 

A. D. AMES, Publisher. 



TS* -3 



,Zj 



■ 



THE SPY OF ATLANTA. 



CAST OF CHARACTERS, 



as originally performed at the Opera House, Plymouth, Ohio, under the man- 
agement of the authors, on Thursday, Friday and Saturday even- 
ings, September 23d, 2 4th and 25th, 187-5. 

Edwin Dalton (a Union man — afterward a spy) A. D. Ames 

Edward StClair (a Southerner and a vidian) C. G. Ba.rtle> 4 

ParKe StClair (Edward's father) T. Webber 

Charlie Dalton (son of Farmer Dalton and brother of Edwin) Fred Webber 

Farmer Dalton (a Northern and Union man) J. Ferguson 

Jake Schneider (a fat Dutchman, true blue) Joe Week 

Capt. Mason (XT. S. A.) H.S.Vinson 

Pete (a colored 'gemman') B F. 'Dimm 

Gen. McPherson (U.S.A.) Chas. Glover 

Gen. Sherman (U.S.A.) Gto. B. Drevnen 

Major W'ilber (U. S. A.) A. Mi.ttenbu.hler 

Col. Harrison (U.S.A.) J. M. Taylor 

Corp. Ogden (U. S. A.) Will Beelman 

Sergt. Bates (0. S. A.) Gro. Tyson 

Maud Dalton 'wife of Edwin) M xx Ida Hills 

Carrie Dalton (sister of Edwin) Mix* May Gulp 

Mrs. Dalton ( wife of Farmer Dalton) Mrs. Clii Topping 

Little Willie (the drummer boy) Master Nextor Webber 

Little Nannie (daughter of Edw'in and Maud) 

Ladies, troops, citizens, Union and Rebel soldiers, ladies for tableaux, etc. 



CAST OF CHARACTEBS, 

as performed at the Town Hall, Republic. Ohio, under the management of the 

authors, on Saturday, Monday and Tuesday evenings, 

October, 2d, 4th and 5th, 1875. 

Edwin Dalton (a Union man— afterward a spy) A. D. Ames 

Edward StClair (a Southerner and a villain, and after- 
wards an officer in the Rebel army) C. G. Bartley 

Park StClair (Edward's father) '. S. Chittenden 

Charlie Dalton (son ot Farmer Dalton and brother of Edwin) D. H. Cnssel 

Farmer Daltun (a Northern and Union man) A. D. Scott 

Jake Schneider (a fat Dutchman, true blue) ...J. A. Colwell 

Capt. Mason (U.S.A.) & A. Grover 

Pete (a colored 'gemman') -Cal Brayman 

Gen. McPherson (U. S. A.) & E. Kelsey 

Gem Sherman (U. S. A.) A. D. Scott 

Major Wilber (U. S. A.) Chas. Karshner 

Col. Harrison (U.S.A.) A. H. Singer 

Corp.Ogdm (U.S. A.) H. Melber 

Sergt. Bates (C. S. A.) W. Hamilton 

Maud Dalton (wife of Edwin) Miss Alice Hill 

Carrie Dalton (sister of Edwin) Miss Lizzie Ogden 

Mrs. Dalton (wife of Farmer Dalton) Mrs. A. D. Scott 

Little Willie (the drummer boy) Charlie Chittenden 

Little Nannie (daughter of Edwin and Maud) Mamie Bromley 

Ladies, troops, citizens, Union and Rebel soldiers, ladies for tableaux, etc. 



Time of performance, about three hours. 



The Spy of Atlanta: 



ACT I. 



SCENE FIRST.— A dining room in house of Farmer Dalton, in 4th grooves 
— table, C, set for dinner— small table, L. u. e— ten chairs, coffee pot ready off 
L. — at the rise of the curtain Carrie and Maud are discovered arranging the 
dishes etc. — Farmer Dalton and Mrs. Dalton sitting right of table, the formef 
reading a paper— Willie is with his mother — Charlie Dalton, left of table — Pete 
at small table, l. u. k. 

Mrs D. I am sure Edwin should have been here before this time. 

Farmer D. Yes, he is late. The news yesterday, was of such a charac- 
ter as to cause fears of a war between the North and South, but I trust it 
may be averted. Where are our guests? Were they not to leave us imme- 
diately after dinner ? 

Maud. They went out for a walk a short time ago, but will* soon be in. 
I hope, father, you will not talk politics any more this morning. Our 
guests will soon leave us, and it is better for us to part as friends, "than as 
enemies, and for Carrie's sake it would be much better. 

Farmer D. I am aware of the state of feeling, which exists between my 
daughter and Edward StClair, and I have no doubt, should a war break out, 
himself and father will both espouse the cause of the North, and be found 
battling for the Union. 

Charlie. Father, 1 fear not. They have the hot Southern blood — their 
interests are all with the South, and in case there should be war, you will 
find them fighting on the wrong side. 

Carrie. I fear it will be so, and 1 with Maud trust you will not get to 
talking politics any more while they are with U3. They will leave imme- 
diately after dinner — their baggage has already been ' sent to the depot. 
Ah, they are here now. 

Enter StClair and E hoard, l, 2 e. — Pete takes their hats and places them 
on the small table, l. tt. e. 

St Clair. Ah, we are late. 

Farmer D. It does not matter. We were waiting for you and Edwin ; 
but Pete, place the chairs around the table, we will not wait any longer. 



THE SPY OF ATLANTA. 

Pete places the chairs around the table. When this is done they sit as shown 
tn diagram. 



Pete behind table. 
Mrs. D. Farmer D. 



Carrie. 


1 


Edward. 


Table 


Parke St Clair. 





Charlie. 

Maud. 

Chair for Edwin. 



Willie. 



Nannie. 



Note. The character of Nannie can be used or omitted at pleasure. As 
her picture is used in the Andersonville scene, it is better to have her on 
the stage in the first act. 

Mrs D. {after they are seated) Pete, bring the coffee. 

Pete. I fly. [exit l. 

{Farmer Dalton and others of the family will proceed to wait upon the ta- 
ble. Care should be taken to have everything perfectly natural, and the 
business of the scene should not be hurried) 

Farmer D. Well, friend StClair, how have -you enjoyed your walk * 
StClair. Very much, indeed. Edward and myself remarked the beauty 
of the scenery. We think nothing need mar your happiness. 

Enter Pete with the coffee, xohich he places on the table before Mrs. Dalton. 

Edio. We are very grateful to you for the kindness you have shown us 
since we have been visiting you, and most earnestly hope the time is not 
far distant, when we shall see you in our Southern home. 

Farmer D. The happiness has been mutual, I assure you. Your lather 
and myself were schoolmates together — we have always been firm friends, 
and I trust at some near time in the future, our families may be still, more 
closely united, (noise off l.) Ah, did 1 not hear Edwin coming? Pete, 
step to the door and see if it is him. Pete noes to door, l. 

Pete, (at door) Yes, massa, it be he suah. (speakinq off l) You must 
be lively, massa Edwin, or you'll loose your dinnah — it is gwine mighty 
lively, I tole you. 

Enter Edwin, L.j Pete takes his hat and places it on small table, l. u. b. 



Edwin, (in reply to Pete) Well, I'm not very hungry — it won't make 
much difference, (to the guest 1) Ah, how do you do, Mr. St Clair Ed- 
ward ? 

Fdw ' ) (R e Pty io salutation) 

Farmer D. What is the news in town, Edwin ? Is there anything par- 
ticularly exciting ? 

Edwin. Really, I do not know. I was over to see Mr. Rife, who resides 
two miles the other side of town. I only stopped on my return long 
enough to get the paper, and have not opened it. Here it is — you can read 
it for yourself. 



THE SPY OF ATLANTA. 7 

Edwin takes the paper from his pocket and hands it to Farmer 'Dalton, who 
opens and reads it for a few moments. He evinces much ^surprise, and 
striking the table excitedly, rises to his feet. 

Farmer D. Those cursed rebels have fired on Fort Sumter. Major An - 
derson gallantly defended it but for want of reinforcements, was compelled 
to surrender. President Lincoln has called for seventy-five thousand vol- 
unteers for three months. 

StClair. It cannot be possible that war has actually begun ! 

Charlie. From the general aspect of affairs, it is nothing more than I ex- 
pected ; but of this I am convinced — the cowardly traitors at the South 
will soon be whipped into subjection, like unruly curs. 

Edw. Do not be too sure of that, my young friend. It is a mistaken 
notion, that Southerners cannot fight, as the North will find to its sor- 
row, should we have a war, which now seems inevitable. 

Farmer D. (to Parke StClair) Mr. StClair, we have long been friends, our 
forefathers fought side by side to establish this grand old Union, and I 
trust that in the coming struggle, yourself and Edward will be found bat- 
tling for the maintainance of this government, which is so dear to us all. 

Edw. Mr Dalton, I can speak both for my father and myself — we both 
were born and nurtured in the South — our homes are there, all our interests 
are centered around the dear old homes of our childhood, and we should 
be more than traitors, now that we are called upon to protect our sacred 
rights, should we be found wanting. 

Edwin. Pray let this matter end here. I fear if it is continued, it may 
end in a quarrel, which>we may all regret. 

Charlie. Quarrel or no quarrel, I do not believe in letting anyone talk 
treason in this house — (rises) — they hung traitors in former times, and 

Edw. (rising from tabic and goes L.) Father, I can stand this no longer. 
I have sat and listened to the contemptible abuse of these cowardly abol- 
itionists, until forbearance has ceased to be a virtue. 

StClair (rises and goes l„ near his son) Be calm, my son, be calm. 

Maud, {to Edwin) Oh, husband, do not let them quarrel! You are 
cool, ask Edward's pardon. 

Edwin, (rise* and goes 11. , Maud follows to c, in front of table) I regret 
this as much as anyone, but I cannot ask pardon of a traitor — no never ! 

The characters all rise, who are tip to this time sitting. 

Edw. (l. 1 e.) Traitor, you cowardly Yankee 1 I do not wish you, or 
any of your crew to ask my pardon — it would not be granted if you did. 

Edwin, (r. 1 k. ) Edward StClair, one word, we have been friends, it 
would have been my wish that we could have remained so ; but I cannot 
be a friend to a traitor. There's the door, sir, begoue, both of you, or 1 
will be obliged to kick you out. 

Edw. Kick me out, will yon ? (he rushes upon Edwin and attempts to 
strike him— a short struggle. They are separated by StClair and Maud. Ed- 
win Dalton, you have made me your bitterest enemy. This matter does 
not end here — we shall meet again and then it will be my turn to triumph. 

StClair. Pete, our hats. (Pete gives them from small table) Mr Dalton, 
allow me to wish you a-very-good-day. (St Clair and Edward exit l., 
followed by Pete) 

Carrie. Oh father, I am so sorry this has happened. I was very much 
afraid it would be so. 

Farmer D. Well, what is done cannot be undone : but however much I 
may regret it, I eannot harbor traitors beneath my roof. My name is 
without a stain, and I am now too old to allow any act ot mine to blacken 
it. ♦ 

(Loud knocking outside, l — in case of small stage, the table should be set 
back) 



THE SPY Of ATLANTA. 

Mrs D. Willie, there is some one knocking — go and see who it is. 

( Willie goes to door l. 
Willie, {at door) Oh, it's Jake Schdeider. Come in Mr. Schneider. 

Enter Jake Schneider, l. 

Jake. Why, goot morning, mine frients, goot morning. How you all 
vas dose morning? Dese news, vat ve vas heard, vas de virst news dot I 
ever saw of mine life. I spose you heard of dot Brigadier Sheneral Major 
Anderson was surrendered a fort mit three million men to dose rebels, vay 
down south dare at South Carolina, in Charlestown, only dot vas ouet in de 
vasser — und dey fit, und fit, und fit, und den dey surrendered mit dere Hag 
a floating. Oh, I tole you dot scare me all up into noddings. I tink I vas 
lose fifty pounds since I hear dose news. 

Farmer D. Yes, friend Schneider, it is bad news indeed. I suppose you 
will go and help to punish these rebels. 

Jake. Vas I goin' ? You can yoost bet I vas goin. I shall raise me one 
leetle company of militia all mineself, und ve vill go down and glean dose 
rebels ouet, dat's vat's de matter. {drum heard off i. 

Willie. I hear a drum — I must go and see where it is. {goes to door, l. 

Jake. I vas go too. {Jake and Willie exit door n. 

Maud. (l. c. — to Edwin) Oh, Edwin, you will not go and leave me. 

Edwin. (r. c.) Dear wife, I can only do my duty. My country needs 
the help of all her sons, and you know dear one that Edwin Dalton is not 
one to avoid responsibility and duty. 

Maud. It seems so hard to have you leave me." The few years of our 
married life have been full of sunshine and happiness, and to have you 
leave me and go to war, 'mid all its dangers — it seems as if my heart would 
break. gleans Iter head on Edwin' s shoulder 

Edwin. You must not talk so wife — let us hope the war will be of short 
duration, and that ere many months I shall be home again. 

Maud. {raising her head and looking into Edwin's face) Well, dear Ed- 
win, hard as it may be to part from you, I will not say another word to 
discourage but only say, go and God be with you. 

Edwin, {caressing her) Maud, dear wife, I never felt so proud of you in 
all my life before. '-Go, and God be with you," — how those words will 
cheer me wherever I may be. By the camp-fire, on the march, or on the 
battle-field, wherever the duties of the hour may place me, they will al- 
ways be remembered, together with the one who gave them utterance, 
cheering me when else 1 might have given up to despondency. 

{Edwin and Maud move a little to r. 

Mrs D. {seated h. c.) But father, how will we ever get the crops in if 
the boys all go to war ? 

Farmer I). {seatedR. c.) Never mind that, mother, I am pretty old but 
I can lend a hand. 

Carrie, (c.) Yes, and Maud and I can help to plant the corn if nec- 
essary. 

Farmer D. Mother, do you hear that ? No danger of failing when our 
women talk in that way. 

Enter Willie, L., he runs quickly to his mother. 

Willie, {eagerly.) Oh, mother! you know I went out to see what was 
the matter, and Jake Schneider, he met a lot of the boys, and they talked 
about the war — and they are coming this way — and — and I'm going to 
war too. 

Mrs. D. Ohy my boy, you are too young, you could not do any good; 
besides we could not spare you. 

Willie. Ob, yes mother, 1 could drum, steal ehioken3 

All.. Steal chickens ! 



THE SPY OF ATLANTA. 9 

Farmer D. ( rises, and takes Willie by ike ear and leads him to door, l.) 
Why, you young rascal. 

Willie, {at door, sees Schneider — noise of dogs barking.) Oh, here comes 
Schneider, now. ( Willie standi l. 

Jake, {without l., as dogs bark.) Get ouet ! Shoo. Get ouet. 

, Enter Jake Schneider, l. 

Jake. Dot vas de vorst dorg dot I efer seen — he vas having von gseat 
vish to inspect mine legs. I don'd guess he better make some foolishness 
mitmine legs or I'll blow his prains ouet mit mine fisht right away queek. 
{to Dalton.) I say, vot for you keep such a dorg like dot? Vy dot dorg 
vas not fit for bologna sassage. 

Farmer D. (r. c.) He would not bite you, friend Schneider. 

Jake. Veil, I don'd know aboud dot. i don'd vas like so much familiar- 
ity mit dot dorg on short acquaintance. 

Farmer D. Well, what were the drums beating for Jake? 

Jake, (l.) 1 vas most forgot aboud dot ven der dorg mate foolishness 
mit me. Dotvar vas pizness. Say , {beckons to Edwin who is R. — they meet 
■in c.) Ead, I have got mine leedle gompany ouet here, und I vant you, 
and your brother Sharlie to go mit me. Vill you go? 

Edwin. Yes, of course I will go. 

Jake, {joyfully.) Dot vas pully — Shake, {they shake hands — Edwin re- 
turns to his position-, R., near Maud.) Sharlie come here ! {beckons to Char- 
lie who comes to him.) I vas raisin von leedle gompany to go mit de var. 
Your brother here, vas going in my gompany — vill you go too? 

Charlie. I have no doubt but you will make a fine captain, and I think 
I may as well g » with you as any one. 

Jake. Dot vas pully — shake, {they shake hands.) Now poys let's go 
down town and put our names of dot papers. Mr. Dalton, you and your 
frau go mit us, und de gals. 

Farmer D. Yes, we will all go. Carrie, bring my hat and cane. {Car- 
rie goes off u., stage and returns with them.) Charlie, hitch the horses to the 
big wagon, {exit Charlie, R.) Mother, you and the girls get your things on, 
so we will not have to wait. {Mrs. Dalton and Maud g^t their shawls and. 
hats — Edwin helps Mr. Dalton on ivith his coat.) Come, Schneider. 

{All exit r. 3 e., except Carrie. 

Carrie, {sinks into a chair, L. c.) They have all gone but me. Oh, Ed- 
ward must it be so? Fe left us in anger, and when he thinks calmly he 
will not leave me, his affianced wife, to fight against his country. And. yet 

I fear 1 know not what. If I could only see him again — It seems as 

though my heart would break. 

Enter Edward, cautiously, L. 1 k. 

Edw. Dear Carrie, are you alone ? I could not leave you without one 
word. 

Carrie. Edward, you will not leave me? Oh, relinquish your wild 
thoughts of Southern rights, and remain with us. 

Edw. Carrie, heaven knows how dear you are to me — that to part from 
you is like tearing asunder my very heart-strings. But there is another 
dut y — the struggle which is to come, will be long and bloody. Years may 
perhaps elapse before peace will again reign over our unfortunate country. 
Oh Carrie, if you love me as you say you do, fly Avith me to my Southern 
home — there amid the luxuries and comforts which I can provide for you, 
you will scarcely know of war ; Carrie, will you go — what is your answer ? 

Carrie. Edward, you tell me you are summoned to your duty — you sure- 
ly forget that you are not the only one of whom duty has a right to claim 
obedience. My aged father and mother, my brothers and sisters all have 
claims on me, and more than this, I cannot be a traitor to my country. 
No, no. You may trace our ancestry from the foundation of this govern- 



10 THE SPY OF ATLANTA. 

meiit, and you will not find one single traitor to our country'3 flag. That 
you should share your lather's opinions is but natural. But oh, Edward, 
thfrik of it before it is too late. 

Edw. Carrie, I have thought of this matter in all its forms, and there is 
one path and only one open before me. The South is my country, ana when 
she calls for help, I cannot turn a deaf ear to her entreaties. No, Carrie 
for me to remain idle now, would be worse than treason. 

Carrie, (rises.) ]f such be your resolution, I will not attempt further to 
change it. In your fidelity to the South you have divided your love, and 
I will have it all or none. 1 cannot go with you, and you will not remain. 
It will be better for both, that this interview should close. Think, Edward 
— on the battlefield you may be brought face to face with those I love — the 
thought is horrible, (aside) Oh, my heart will break. 

Edw. Only one word more, Carrie, and then we part, perhaps forever, for 
when two souls turn from each other and steadfastly pursue ways as oppo- 
site as ours, how can they meet again? Oh, Carrie when I have gone, and 
you are happy in another's love, do not think too harshly of me, for as God 
is my judge, I am doing only that, which in nay inmost soul I think is hon- 
est and honorable. Carrie our paths are henceforth wide apart — and now 
farewell, (they embrace.) Farewell, and may God bless you. 

(exit quickly, L. 1 E. 

Carrie, (covers face with handkerchief.) Oh, Edward — Edward, do not 
leave me in anger, (looks up.) He has gone — and — forever. 

(sinks in chair, h. c. — scene closed in. 



NOTE. — Clear the stage behind the next scene for scene third — it must be 
done quietly and quickly. 



SCENE SECOND.— A street in first grooves. 

Enter Parke S-lClair and Edward, from L. 

Edw. Well, father we must hurry or we will miss the train. Pete has 
gone on with the trunks. We have been basely insulted by these aboli- 
tionists, and I never can forgive them. 

StClair. I fear we have all been too hasty, It was wrong for us to allow 
a slight difference in political opinion to create an enmity between cur 
families, beside y« u know you are to marry Mi&s Carrie. 

Edw. No, father, I am not to many Miss Carrie — Country first and love 
afterward. Eut come, We must not delay — (looks at watch.) It lacks only 
a few moments of train time. (th y exit r. — Scene changes to, 



SCENE THIRD.— A street or landscape, in third grooves. As the scene 
opens, the voice of Jake Schneider is heard without, v., as he drills his company 
— "Left, left, left." — Tne squad should be dressed in os awkward a manner as 
convenient, and shou'd vary in size as much as possible. The whole object to 
make everything appear as awkward as possible. Do not hurry. 

Enter Jake with sword, at head of the squad, L. 

Jake, (as they march in.) Left, left, left, (as they march no two keep step 
— when near the e., Jake gives the command) Halt ! ( The first man stops very 
suddenly, falling backward against No. 2 — No. 2 against No. 3, etc., until one 
after another, nil fall to stage.) Boys, va* make you shtop so sudden— shtop 
kind o f easy like. Now then fall een— (they slowly rise.)— line oop, line oop. 



THE SPY OF ATLANTA. 11 

(form in line.) Dot, vas goot. Vront fac* 1 ! (men face in an directions.) No, 
no, no ! I show you. ( turns his back to them, facing the audience.) Face 
shust like dot. Now, vront face, (men all turn their backs to him.) No, no, 
Shust you get your face behind you. (men turn their faces towards him.) 
No, no. no. (places first man in position .) Dot vas right, (other men, one 
after another get position.) Dress oop a leetle on dot under eend — Dot vas 
richt. Now den poys, I vas tole you somedings. Dose rebels down south, 
vns raisin a dundering of a muss, und 1 tinks by shingo ve go richt avay 
down, und glean um ail ouet — und dot vas why I show you how to drill 
mit dose guns — so you knows how to shoot mil dose guns. Ven I come to 
dis country 1 vas only a kaptin, und if you go mit me, I roaKe y«>u all 
kaptins shust like me — dots so — vili you go? (men reply, "yaw, you bet," 
etc) Dot vas goot. Now poys, look ouet of dose guns — Order arms ! (No. 
5 man lets gun fall on his toe and makes a great fuss, groaning etc. Jake goes 
to him and discovers v;hnt is the trouble.) Dot vas too pad mine friend, but 
dot gun must fall somewhere, und if \our feet be so pig I cannot help dot. 
(giving order.) Present goons! (All of the squad rush towards him with 
the/r guns pointed at him.) Oh, no, no, no. (they fall back slowly — he takes a 
gun and shews them.) Some dings like dis — don'd make fools on top of 
ycftrselves. Now, present goons! (men present guns.) Dot vas goot — vy 
poys we learn right away queek. Order arms ! (men do so in an awkward 
manner.) Goot. Now poys, • inspect dose goons. Make dose ram rodu ; 
ouet of dose goons, right away qu (men draw ramrods out their tfuns. 

except the first man, Jake watches hi m i/ibiiient.) Veil, vot in the tuy-ful 
is der matter mit you — vy don'd you take dose ramrods ouet? Take hold 
of dose goons ! (he takes hold of the tun at the barrel, the man at the other, 
end. astride, back to back.) Now pull, pull, (after several ineffectual at- 
tempts, the ramrod slips out and each go headlong upon the stage, comic busi- 
ness getting up.) Mine friend you had petter grease dot goon mit hog's tal- 
ler, (takes second man's gun. Veil dot vas shust as goot aa nis. (takes. 
third.) Py shewillaker dot vas the vorst goon dot I efer saw. How you, 
got dose ramrods ouet? (takes fourth gun.) So helep me cracious dot vas 
the vorst goon of any. Mine frient you had petter grease dot goon mit 
brick doost. (takes fifth gun.) Now poys dot vas a niee goon — shoost look 
of dot goon. 1 to!e you all the vile dot vas a nice goon, I make dot man my. 
high private, (as he is examining the gun it is discharged — the men very, 
much frightened, run in all directions — Jake tumbles to the stage, and rolls, 
about, at last seeing he is not hurt, rises and runs about, calling very bravely.)) 
Fall 'een, fall 'een poys — line oop, line oop ! (they come in and form in line.) 
You vas a nice set of cowyards to go mit dot var. Vat you done there vid- 
otiet me? So helep me cracious if I thought dere vas one cowyard in mine 
gompany, I vould kick him right away ouet quick mit mine left hand-. 
(No. 1 man discharges his gun — Every one very much frightened, run off stage 
in all directions. Jake falls upon stage and rolls about ad libitum. After- 
wards seeing no one is hurt, becomes very bold and rises.) Fall 'een, fall 'een, 
line oop, line oop. (goes to h., and aside.) Godfrey tarn, but F vas scarf 
most my wits ouet. (aloud.) Fall 'een, fall 'een! (men enter slowly and 
take position.) Py golly poys, I guess you vas scarf. Now, vront face 
queek— let's get ouet of dis. flight face, forward march, left, left, left, etc. 
(Juke at head of column. He moves to l., and crosses in front of stage to l., 
continuing the order "left, left." When at l., he says, "halt J" discovers that 
his squad has gone off R.) Veil, I should say I vas left, (with very long 
strides he follows, R. — a pause, and squad crosses from r. to l., followed by 
Jake still trying to overtake them.-^scene changes to, 



12 THE SPY OF ATLANTA. 

SCENE FOURTH. — A street in fourth grooves. Captain Mason discovered 
a little back of a, with a small stand or table, a roll to sign etc. 

Enter Edwin, Charlie Dalton, Mr. Schaffer and others, L. 

Edwin. Oh. good morning Captain, (all shake hands with the Captain 
and exchange salutations, then go to r. of him.) Do you want any more recruits 
this morning ? 

Capt. M. (c.) Yes I want about a dozen men to complete my company. 

Schaf. (e.) Captain, did you see anything of Jake Schneider this morn- 
ing ? 

Capt. M. No, I have not seen him. 

Schaf. He has been drilling a squad of men, and says he is going to war. 
(looking l.) There they come, now. 

Jake is heard upon the l. outside, "left, left." He enters at the head of the 
squad — when he is near Capt. Mason, he gives the command "halt !" 

* 

Jake. Shentlemens how you vas ? I vas have the honor to introduce to 
you the gompany of Schneider Wolunteers. 

All. How are you toys! (shake hands. 

Jake. You see, gaptin, I vas triliin dos gompany, und dey dond vas ex- 
actly understand my gomands, und dey vas run avay, but 1 run so last .ib 
liefer vas, und come tip mit em, und they say dey vas gom to enlist mit 
some one vof don'd know so much like me, und if you gif us all offices 
gaptin, ve vas goin mit you. 

Capt. M. Well Schneider, what office do you want? 

Jake. Oh, I vant to be Bhenerals, or gorporal, or brevet couk ; or some- 
dings pig like dot. 

Capt. M. Well, Schneider, if you go with me, I will make you compary 
cook, and if you fight well, I have no doubt you will get your full rations, 
and it may be, get promoted. 

Jake. All right, ve vill go. Poys put down your names off dose papers. 
(the members of the squad, one after another sign the paper. 

Jake, (the last one to sign, with much cercmmxy, spelling.) Y-a-e-h, yach, 
H-a-u-b hub, S-c-h-n-e-i-d snide, h-e-r her, Yacub Schneider. 

Edwin. Captain, if you wish to protect the remainder of your company 
put Schneider in the front ranks — he would make splended breastworks. 

Jake. See here Mr. Dalton, it you don'd stop dose talk aboud my mak- 
ing breastworks for dose gompany, I vill take my poys here, und make 
foolishness mit you. Veil poys if you've all enlisted, ve vill go und have 
some trill. Fall 'een, line oop. Now forward march ! 

( 7nen obey orders and exit L. 

Edwin. Well boys, let us put our names down — Schatfer, go ahead. 

(Schaffer signs, and any others beside the. Dalton s. 

Charlie, (after the others have signed.) Wait a minute Edwin until father 
and mother come, {sees them l. ) Oh, here tney are now. 

Enter Farmer Dalto?i, Mrs. Dalton, Maud, Carrie and Willie, l. 2 m. 

Capt. M. Good day, Mr. Dalton. 

Farmer D. (l. c.) How do you do, Captain ? Rather startling news we 
have been receiving. War sometimes, is a necessity and in this case is no 
doubt the only thing which will bring these secessionists to a sense of their 
duty. I cannot go myself, but my two boys will go in my place, if you 
have room for them. 

Capt. M. Yes sir, I think their names will complete the list. 

Maud, (to Edwin.) Oh, husband, must you go ? 

Edwin. Should I hesitate now, I should be weak indeed, and unworthy 
the name of Dalton. 



THE SPY OF ATLANTA. 13 

Mrs. D. Well, my boys, it is gad to have you go, but I can only say, do 
your duty. {Edwin and Charlie sign the roll. 

Willie, (to Capt. Mason.) Captain, -won't you take me? (to Mrs. Dal- 
ton) Mother let me go, won't you ? 

Mrs. D. {placing her arm around him and looking in his face.) We can- 
not spare you my boy, beside you are too small. 

Capt. M. I fear you are rather small, my boy. 

Willie. I can drum, Captain, and Edwin and Charlie will take care of me. 

Capt. M. Well, if your mother is willing I will take you. 

Willie. Oh, mother can I go ? Please let me go. 

Mrs. D. ( choking with emotion) Weil, my dear boy, if you can do any 

good — although it nearly breaks my heart to part from my last boy go, 

and God bless you. 

Farmer D. [wiping his eyes) This is almost too much — to part from 
Willie, our youngest, our baby — but the dear old flag must be protected, 
although it takes our heart's dearest treasures. May God bless you my boy', 
guard and keep you from all harm, is the prayer of your father. 

{Exit Farmer Dalton, Mrs. Dalton, Maud and Carrie, L. 1 b. 

Capt. M. Well boys, the company is full and now come with me and I 
will issue your uniforms, then we will join the regiment. {they all exit l. 



NOTE.— Blouses for the soldiers should be ready l. so the change can be made 
very qv.ickty. 



SCENE FIFTH.— Landscape or street, full depth of stage.— As the curtain 
rises, noise of martial music is heard off~L. and enter Col. Harrison L. 1 e. com- 
manding companies — Col. Harrison gives commands so as to bring companies 
around three »ides of stage, as follows : 

Col. H. Column right, march— Column left, march— Column left, march 
— Halt— Left face — Eight dress — Front — Order arms— Parade rest. 

Enter l. Farmer Dalton, Mrs. Dalton, Carrie, Mated, and others. Carrie 
has a U. S. flag, she advances a little in front of the others and sings the 
"Star Spangled Banner," all joining in the chorus, or all may sing it, as 
may be deemed best. 



STAR SPANGLED BANNER. 

say can you see by the dawn's early light, 

What so proudly we hailed at the twilights last gleaming ; 
Whose broad stripes and bright stars, through the^perilous fight, 

O'er the ramparts we watched were so gallantly streaming, 
And the rocket's red glare, the bombs bursting in air, 

Gave proof through the night, that our flag was still there ; 
O say does that star spangled banner yet wave, 

O're the land of the free, and the home of the brave. 
Chorus. 

0, say does that star spangled banner, &e. 
And war's clamors o'er, with her mantle hath peace. 

Once again in its folds, the nation enshrouded ; 
Let no fratricide hand, uplifted e'er be, 

The glory to dim, which, now is unclouded ; 
Not as north or as south, in the future will stand, 

But as brothers united throughout our broad land ; 



14 THE SPY OF ATLANTA. 

And the star spangled banner forever shall wave, 
O'er the land of the free and the home of the brave. 
Chorus. 
And the star spangled banner, «fcc. 
O, thus be it ever when freemen shall stand, 

Between their loved homes and war's desolation ; 
Blest, with vict-ry and peace, may the heaven rescued land, 
Praise the power that has made and preserved us a nation ) 
Then conquer we must, when our cause it is just, 

And this be our motto, "In God is our trust," 
And the star spangled banner in triumph shall wave, 
O'er the land of the free and the home of the brave. 

Chorus. 
And the star spangled banner, &c. 



Carrie, {after the song — to Col. Harrison) Colonel Harrison, in behalf -of 
the ladies of this place, allow me to present to your regiment this beautiful 
emblem of our glorious union. May its bright stars and stripes never be 
trailed in the dust by traitor's hands. Rest assured Colonel Harrison, that 
as you are battling lor the rights so dear to us all, our prayers shall always 
follow you. Take it Colonel, and may you carry it till its folds shall wave 
over every foot of American soil. {gives flag to Col. Harrison . 

Col. H." Ladies I accept this sacred trust in behalf of the regiment which 
I command, and assure you its sacred folds shall never be sullied by any 
act of ours. We feel that our cause is a noble one, and assure the donors 
of this flag, that our love for it is so groat that if need be, we will die in its 
defense, (to the companies) Attention battalion — Shoulder arms — Color 
guard to the frwnt, and center march, {color guard marches c. and he hands 
him the flag) About face — Battalion, present arms — Color guard, to your 
post, march — Battalion, shoulder arms! Order arms! Parade rest ! Now 
boys, three cheers for the noble ladies, {cheers) Now, three cheers for the 
flag, {cheers) Attention, battalion ! Shoulder arms ! Right face ! Forward, 
head of column to the left, march ! 

Music — As they march off, Edwin, Charlie, W' I He and others fall out of the 
ranks and bid friends good hj/e — when all are of then the 

TABLEAU OF SECESSION.— Is arranged by building, at the extreme 
rear of the stage, a platform of sufficient hight, and covered with dark blue. 
In the centre is placed the Goddess of Liberty with shield and sivord. La- 
dies representing the seceding states are upon the left, South Carolina near~ 
est to the Goddess. Upon the right are the ladies representing the North- 
ern states, Massachusetts nearest to the Goddess — all the states with 
shields. At a signal South Carolina raises a danger to strike the Goddess, 
the Goddess raises her shield, and all the Northern states do so also turn- 
ing toward* the Goddess. All the Southern states turn their backs on the 
Goddess, except South Carolina. The whole brilliantly illuminated with 
colored fire. 

CURTAIN. 



THE SPY OF ATLANTA. li 

ACT II. 

SCENE FIRST. — The Union Camp by night— Soldiers asleep about stage. 
A sentinel on duty L. Jake on duty as a sentinel e — Edwin Dalton reclining on 
blanket B. C, reading a letter ', a lighted candle near in a bayonet which is stuck 
in the side of Willie's drum. Willie lying on stage to the e. of Edwin Dalton. 

Edwin. Aletter from home. Oh, how it cheers my heart to recive them. 
Wife writes that all are well, and wishes that the war would soon close, so 
that we might he again united. Ah, dear Maud, God only knows when it 
will be. 

Edwin falls asleep leaning his head upon his hand. The curtain draws, 
showing the "Soldiers dream of home." The Sentinels stop walking. This 
tableau should represent the dear ones at home, and may be arranged to 
suit the stage manager. It may also be omitted if deemed advisable. 

Edwin. I declare, I fell asleep and dreamed of home, and the dear ones 
there, {bugle sounds taps) Ah, it is time to put out the light. I must try 
to get a little sleep, for to-morrow is my turn on picket. 

{blows out candle and lies down. 

Enter Capt. Mason and Serg't. Chas. Dalton with grand rounds, L. 

1st. Sentinel. Halt ! Who comes there ? 

Charlie. Grand Rounds. 

1st. Sent. Stand Rounds, advance Sergeant with the countersign. 
Sergi. Dalton advances to Sentinel, who stands at "Arms Port" while Char- 
lie whispers the countersign. 

1st. Sent. The countersign is correct. Advance, Rounds j 

They proceed to b. where Jake is on guard. 

Jake. Say, stop a leedle. Whoyouvas? 

Charlie. Grand Rounds. 

Jake. Ish dot all ? I thought it vas a geese. But you stop a leedle. 
You can't go by here unless you say Washington, dot's vat's the matter. 

Capt. M. {shows him hovj to hold his gun, and other busines ad libitum) 
Sergeant, advance Guard to next post. {Sergeant does so and they exit e. 

Bugle sounds Reveille l. The company fall in, and the roll is called. After 
which the order is given to break ranks. Here may be introduced songs, 
dances, etc. For convenience the words cf "Tenting on the Old Camp 
Ground" and ''Just before the Battle Mother" are inserted. A guitar or 
other instrument may be used by any one who sings. Copies of the songs 
may be ordered of the publisher of this play. 



* TENTING ON THE OLD CAMP GROUND. 

We're tenting to-night on the Old Camp Ground, 

Give us a song to cheer. 
Our weary hearts, a song of home, 

And friends we love so dear. 
Chorus. 
M^fcy are the hearts that are weary to-night, 

Wishing for the war to cease, 
Many are the hearts looking for the right 

To see the dawn of peace. 
Tenting to-night, Tenting to-night, 

Tenting on the Old Camp Ground. 

The words of "Tenting on the Old Camp Ground" are used by permission 
of 0. Ditson & Co., Boston, who own the copyright. 



£1$ THE SPY OF ATLANTA. 

We've been tenting to-night on the Old Camp Ground*, 

Thinking of days gone by, 
Of tne lov'd ones at home that gave us the hand, 

And the tear that said "Good bye 1" 
Chorus. 
"We are tired of war on the Old Camp Ground, 

Many are dead and gone, 
Of the brave and true who've left their homes, 

Others been wounded long. 
Chorus. 
"We've been fighting to-day on the Old Camp Groundj, 

Many are lying near ; 
Some are dead, and some are dying, 

Many are in tears. 

Chorus. 
Many are the hearts that are weary to-night, 

"Wishing for the war to cease, 
Many are the hearts looking for the right 

To see the dawn of peace. 
Dying to-night, Dying to-night, 

Dying on the Old Camp Ground. 



♦JUST BEFORE THE BATTLE, MOTHER. 
Just before the battle, Mother, 

I am thinking most of you, 
While upon the field we're watching, 

With the enemy in view — 
Comrades brave are round me lying, 

Fill'd with tho'ts of home and God"; 
For well they know that on the morrow., 

borne will sleep beneath the sod. 
Chomts. 
Farewell, Mother, you may never 

Press me to your heart again ; 
But 0, you'll not forget me, Mother, 

If I'm numbered with the slain. 
Oh I long to see you, Mother, 

And the loving ones at home, 
But I'll never leave our banner, 

Till in honor 1 can come. 
Tell the traitors, all around you, 

That their cruel words, we know, 
In ev'ry battle kill our soldiers 

By the help they give the foe. 

Chorus. 

Hark ! I hear the bugles sounding, 

'Tis the signal for the fight, 
Now may God protect us, Mother, 

As he ever does the right. 
Hear the "Battle- Cry of Freedom," 

How it swells upon the air, 
Oh, yes we'll rally round the standard, 

Or we'll perish nobly there. 
Chorus. 
The words of, "Just before the Battle, Mother'" are used by permission of 
S. Brainard's Sons, Chicago, who own the copyright: 



THE ~6PY OP ATLANTA. IT 

Jake, (who is still on guard) I say — I think it vas aboud time dot I vas 
relieved, don'd it ? (looks r.) Hey, who's dot ? Halt 1 

Enter Old Pete, r.Ie. 

Pete. Say, just you lower dat machine, if you J s got no dejections. I hab 
got some news lor you uns. 

Edwin. Fknow this man — perhaps he has something of importance to 
communicate. 

Ptte. Ah ! Massa Edwin, am dat you ? I'm mighty glad to see you, I 
tole you. 

Jake. If you got any news to tell us, spit it ouet right avay queek. 

Pete. I hab deserted de rebels, Massa Edwin dar, knows dis chile, an he 
knows I neber wanted to fight wid 'em. Ole massa StClair didn't watch 
very close and I left him. 

Jake. Veil, I spose you can stay mit us. We shall vatch you mighty 
close, I vas tole you. Go over dare, right avay queek. 

(shoves Pete to l. 3 e. among soldiers. 
Bugle calls assembly — All fall in — Moll call. 

Enter Colonel Harrison, L. 

Col H. Battalion, order arms. Parade rest. (Music — Hail to the Chief.) 
Attention Battalion ! Shoulder arms ! 

Enter Generals Sherman and McPherson with Maj. Wilber and other staff 

officers, l. 

Col H. Battalion, present arms ! (the General's raise their hats.) Battal- 
ion, shoulder arms ! 

Gen Sherman. Colonel, I wish to inspect your regiment, (the Generals 
pass in front of the soldiers) Colonel, pass your regiment in review 

Col H. Battalion, right face ! Forward, head of the column, to left- 
March ! (they march off L. 1 E. 

Gen S. Well, General, is there any news from the iront ? Can you, by 
any means, ascertain the number of rebel troops held in readiness to repel 
an attack upon Atlanta? 

Gen McPherson. There is noway, General, of ascertaining the number 
to any certainty, except by sending a courageous and resolute man into 
their lines. 

Gen S. Do you know of any man in your command, whom you can rec- 
ommend for this perilous duty ? 

Gen McP. I think Colonel Harrison may be able to furnish us the man. 
Major Wilber, inform Colonel Harrison that I wish to speak with him. 

Maj W. Yes, sir. (salutes and exit L. 

Gen S. General, have our troops all crossed the river? 

Gen McP. Yes, General, the last regiment crossed to-day. 

Gen S. Did they cross on pontoons, or have they rebuilt the bridge? 

Gen McP. I think th^y crossed on pontoons. 

Enter Major Wilber and Colonel Harrison, L. 

Maj W. General, Colonel Harrison. (retires l. 3 e» 

Gen McP. Good morning, Colonel. 

Col H. Good morning, General. 

Gen McP. Colonel Harrison, I am in want of a trusty and courageous 
man — one in whom I can place the utmost confidence, to send upon a peril- 
ous mission. Have you such a one in your regiment, wnom you can rec- 
ommead? 

Col H. Yes, General, I think I have. 

Gen McP. Have him detailed and sent to me immediately. 

Col H. Is that all, General ? 

Gen McP. That is all. 



18 THE SPY OF ATLANTA. 

Col H. Good morning, General. 
Gen McP. Good morning. Colonel. 

( Col. Harrison salutes and exit l. A pause and 

Enter Edwin Dalton, l. 

Edwin, (salutes) General, I was ordered to report to you for orders. 

Gen McP. I have need, Sergeant of a trusty man to send into the en- 
emy's lines. It is very important for our success, that we should know the 
number of rebel troops in Atlanta. Would you be willing to accept the per- 
ilous undertaking ? If you are successful, you shall be promotted. 

Edwin. Perhaps, like many others, I desire to advance in position, but 
believe me, General, it is from no such thoughts as these th?t I accept this 
extremely hazardous undertaking, for the chances are that if I am hot kill- 
ed, I shall be made a prisoner, but if I can be of any service to my country, 
I will cheerfully make the attempt. 

Gen McP. It will be necessary that you exercise the greatest caution. 
You had better disguise yourself as a citizen, and pass yourself off as a rebel. 

Edwin. What, and become a spy ? Well, for the good of my country I 
will do even that. 

Gen McP. Well, go now, and prepare yourself, and report to me as soon 
as possible. 

Edvjin. (salutes) Yes, General. (exit L. 2 E. 

Gtn S. Gentlemen, we will now proceed to the front. I wish to make 
some observations, (to Major Wilber) Major Wilber. 

Maj W. Sir. 

Gen S. Have you my field-glass with you? 

Maj W. I nave. (gives it to him, as they go slowly towords R. 2 E. 

Enter Edwin Dalton, l. 2 e. 
Edwin. General, I await your orders. 

Gen. McPherson crosses to h., and in dumb show gives Edwin instructions. 
Edwin. I understand. (salutes and exit L. 2 K. 

Generals McPherson and Sherman, with all others exit R. 2 e. — stage clear. 
Scene changes to 



SCENE SECOND. — Camp of the Confederate army. Soldiers discovered 
•asleep r. c. and l. Edward St Clair pacing to and fro in front. Sgt. Bates 
on guard. 

Edw. Curses on the luck ! Will the opportunity never come for me to 
have my revenge upon this Edwin Dalton? Here have I waited patiently, 
for, I know not how long, for an opportunity to get him in my power, but 
the fates seem against me. When I remember his threats to kick me out 
of his father's house, it makes my blood boil; but I can only wait and 
nourish my hatred until the fortunes of war turn in my favor. 

Sgt Bates. Fall in, second relief! (soldiers of second r el iej fall in facing 
front) Guard right face ! Forward march 1 (they march off R. 

Enter Old Pete, r. 1 e., with basket on his arm. 

Pete. I say, boys, don't you wart to buy some prowisions ? 

Edio. How do you sell them uncle ? 

Pete. Only five dollars apiece, dey is bully pies I tole you. (soldiers feel 
in basket) Boya keep your nasty fingers away from dat basket — don't take 
dose pies unless you pay for dem. 

Edw. Do you trust or take greenbacks? 

Pete. I don't want any greenbacks in my dish, and I don't trust neither. 



THE SPY OF ATLANTA. 19 

Enter Segt. Bates with squad, b. 

■Sat B. Squad halt ! Front ! Order arms 1 
Edw. Is all quiet, Sergeant ? 
Sat B. All is quiet 1 believe. 

«i Bois let's -hoop this old nigger up-he's too nq. 
3ftjL act a blanket, and one man at each comer. Pete w tumbled into tt, whmi 
They get a W"^ ^^ ^ (fa , ^ ^ ^i. ,. s bctrvj doM , 

Enter Edward St Clair, R. 
, , (they let him out, 

SS' (irY"U olght°Tbe ashamed of yourselves, to treat a cu.lud 
Mcdin di. manner. If. ^J "£££».$& in , Officer of the Day ,» 
.Edw. Fall in, boys ! Shoulder arms ! 

Enter Colonel St Clair, L. 
£»„. Guard, present arms! ( GrfcmcZ ^uto.) Shoulder arms J 
St Clair. Captain, dismiss your guard ! 
Edw. Guard, order arms, in place rest. 
StClair. Good-day, Captain. 
Edw. Good-day, Colonel. 
StClair. Is there anything new at Atlanta / 
Edw. Nothing, I believe, Colonel. 

Enter Corporal Ogden, l., with Edwin Dalion, disgw*ed. 
n rolnnel I found this man prowling around, and he cannot or 
^iW'give 1 2 TktLaXy account o? himself, so I have brought h.m to 
StClair All right, Corporal, return to your post, ( e*it Corporal Ogden, L.) 

j? ^teri^r/^r-T f « - ^ ta a** 
sbk: ^rup r^r/r i^Vt « „» <* my „.. T h 0S e 

internal Yankee's have stole all mine. 
StOotr. Where's your pass? 

4sJ^ ^'"^ ^?;^H^n Signature * P- 

^^tiSSfc* question this man no forthe,. We M^erea^ 

4/i. A spy ! recognize this man. \ he goes to Ed- 

ra ^l enter C^, SS^^^ JSS?5 
when in the hands of yourself and.son. 



I say, 

Edwin 



20 THE SPY OF ATLANTA. 

St Clair. Have a care, Edwin Dalton, I may have it in my power to aid 
you, and a little different deportment, under the existing circumstances, 
would, perhaps be more in your favor. What was your object in entering 
our lines ? 

Edwin. That sir, the direst tortures you can inflict, will never cause me 
to answer. 

StClair. Then sir, you shall be taken before a Military Court Martial, 
where you will be tried as a spy, and if found guilty, hung like a dog. 

Edvrin. Colonel StClair, I defy you — do your worst. 

StClair. Captain, put this man under strong guard, see that he has no 
conversation with any one, and for your life see that he does not escape. 

Edw. All right, Colonel. {exit Col. StClair, l. 

Edwin, (l. — aside to Pete) Pete, make your way to the union lines, tell 
them that I have been taken prisoner, and to send a body of soldiers to my 
relief, as I have important news. 

Edw. Come along, sir ! (seizes and tries to force him along) Ah, you re- 
sist ! Guard, seize this man ! (guard roughly seize him on each &ide) Guard, 
foiward march ! (all exit r. 



SCENE THIRD. — Landscape in second grooves. 

Enter Pete, hurriedly, r. 

Pete. Goodness gracious! Jumpin' jingo! but dat was tight aqueezin,' 
I managed to squeeze fru though. Now, if I can only manage to get back 
to de union lines, I guess it will be all right yet. I'll tell de gineral to send 
out live million men wid fifteen thousand cannon to release dat poor boy. 
If I don't, he's gwine to pass in his checks suah. Dis nigger must run like 
<ie debbil, or he'll be too late. (runs off l. 



SCENE FOURTH. — Confederate camp in fourth grooves. Same as scene 
second — Edwin Dalton a prisoner h. Edward StClair and soldiers r. 

Edio. So, Mr. Edwin Dalton, at last I have you in my power. Do you 
know what is to be your fate ? 

Edwin. Edward StClair, I expect no mercy from you. You have me in 
your power — do your worst you cowardly traitors. 

Edw. Edwin Dalton, your idsolence is unbearable. Come men, we will 
shoot the rascal, and save the General the trouble of a Court Martial. 

Edwin. You have me in your power. I expect no mercy at your hands, 
neither do 1 ask it. 

Edw. Guard, make ready, take aim. Now, if you have anything to say, 
say it quickly, for you have only a few moments to live. 

Edwin, (looking r.) I have — only — one word to say — and that is, Sur- 
render ! 

Music — A squad of union soldiers, with a U. S.flag, enter r., and over poio^ r 
the rebels. Pete stands over Edward in the tableau. 



SCENE FIFTH. — Landscape in second grooves. 

Enter Edward, hurriedly L., without hat, hair disheveled, with a revolver in 

his hand. 

Edw. $o far fortune seems to favor me. In passing through yonder 
dense wood, by a singular stroke of luck, I eluded my guard, and am now" 
ou my way back to the confederate lines, (listens) They are close upon 
me, and I have not one moment to loose. They are coming around yonder 



THE SPY OF ATLANTA, 21 

huge rock — they come this way — they cannot have seen me. One more of 
the cursed Yankees must bite the dust, be the consequences what they 
may. (.shoots) Ha, ha, ha ! One more miserable whelp gone to kingdom 
come. Ah ! they are coming this way rapidly — but they will never take 
me alive, no, never (exit quickly r. — a pause and, 

Enter Edwin Dalton with Pete and several soldiers, l. 

Edwin. Ah ! boys, I fear he has escaped us. 

Pete. Dat's what's de matter, massa. ff 

Edwin. Come on, we'll follow him, though I fear it will houseless. 

. (they all exit r.*— a pause and 

Enter Gen. McPherson and Staff , and Gen. Shermayi and Staff; l. 

Gen S. (to McPherson) General, have you any news from the front.? 
Gen McP. Lieutenant Stickney, of the'Signaf Corps, but a few moments 
since sent me a report, stating that heavy bodies of the enemy were mov- 
ing to our left- 
Gen S. What preparations have you made to resist au attack, should 
there be one in that quarter ? 

Gen McP. I have ordered the Sixteenth Corps to form in line upon the 
left, and await my orders. 

(firing is heard l. — the beating of drums and bugle. 
Gen S. Hark ! I hear tiring on the left. I think the attack must have 
already been made. 

Gen McP. 1 must at once ascertain the cause, (to staff) Come gentlemen. 

(exit with staff, h. 
Gen. Sherman and Staff exit r. — a pause of a few moments during -which the 
noise of bugle, drums, etc., coritiwu'es.. 

Enter Edward St Clair commanding a squad of rebels, l. 

Ed.w. Halt! Front ! In place rest ! Boys, fortune has indeed favored us- 
The line of sliirmishers, which we have just captured and sent to the rear, 
were taken without the firing of a. gun. Should the day prove as auspici- 
ous for us, the entire Yankee army will either be captured or killed be lore 
sundown. Ah! yonder comes an officer of the Union army of high rank, 
— from the number of his body guard and staff, he must be a corps com- 
mander. If he comes this way, there will be one less of the blue-bellied 
Yankees. A moment more and he is — Halt ! 

( Gen. McPherson and several of staff appear l. 1 K. 

Edw. Halt ! Surrender ! 

(McPherson, who is facing Edward slightly bows and turns away. 

Edvj. Corporal Coleman, shoot the cursed Yankee. 
One of the squad shoot*. McPherson staggers and, falls w. c. Another shot is 
fired and an Adjutant falls near McPherson. 

E he. (crosses to the side of McPherson and speaks to the Adjutant, who 
has raised hid head upon his hand) What miserable Yankee have we here? 

Adj. Sir, it is General McPherson, you have killed the best man in the 
Union army. 

Edw. Yes, and if I had it in my power, thus would 1 exterminate the 
whole Union army. 

(stands exulting ly over McPherson — The rebels give a cheer as the act closes. 

CURTAIN. 



22 THE SPY OF ATLANTA. 

ACT III. 

SCENE FIRST. — A dark wood full depth of stage. Gen. Sherman and 
Staff discovered looking off B. 

Enter Capt, Mason, r. with Edwin and Pete. 

Capt M. {salutes) General, these two men have requested an immediate 
interview with you, they say they have something of importance to com- 
municate, (salutes and exit k. 

Gen S. Why, it is the spy sent out hy General McPherson. Well sir, 
Avhat have you to report ? 

Edwin. {Salutes) General, I succeeded in entering the city of Atlanta. 
The number of troops in the city is about thirty thousand. In returning, 
I was captured by a squad of rebel infantrv, but with the assistance of a 
body of union troops, which was brought to my rescue by my colored friend 
here, I effected my escape just as I was about to be shot by them, without 
even the benefit of a trial. On my way hither, I learned of the death of 
one of Ohio's bravest sons, the gallant Major General McPherson. 

Gen S. {with emotion) McPherson dead ! 

Edwin. The prospects are, that we are on the eve of a general engage- 
ment. 

Gen S. My brave fellow, you have done well, {to one of his staff) Gen- 
eral, enter an order, recommending the immediate promotion of Sergeant 
Edwin Dalton, to be made Major, and A. D. C, and assigned to my staff, 
for brave and meritorious services {exit one of staff'. 

Edivin. General, 1 fully appreciate your kindness, but if there is to be a 
battle, I should prefer, with your permission, to take my place in the ranks. 

Gen S. You can do so for the present, if you desire. 

Edwin. Come, Pete, we will go to the regiment, (exit Edwin and Pete L. 

Enter Major Wilber r. 

Maj W. (salutes) General, General Dodge sends his compliments, and 
desires me to inform you that the enemy's lines are in inoti^h and advanc- 
ing in force. 

GenS. Sir, order the long roll sounded, and the whole command under 
arms immediately. (exit Maj. Wilber l. 

Gen. Sherman and staff [slowly go offh. — a pause and the long roll is sound- 
ed, bugles are heard, shouts from either side, noise of musketry, etc., the 
Confederate army upon the v.., of stage, and the Union upon the h. Gen- 
eral engagement and 

ftRTAIN.* 



THE SPY OF ATLANTA. 23 



ACT IV. 



SCENE FIRST.— Battlefield by night. Moonlight. Dead and wond^d ly- 
ing about. Sisters of Mercy are engaged in assisting the wounded and suffer- 
ing. Pete is searching among the wounded, lantern in hand. Among the 
wounded art Col. St Clair, Edwin and Wtl lie Dal ton. Great care should be 
used in the make-tip of the characters. Do not hurry. Slow, plaintive music 
— very soft . 

Edwin, (l. c.) Oh, this is terrible ! Wounded, and dying for the want of 
water. 

Pete, (r. 3 e.) Ah ! dat is Massa Edwin's voice. {fj-ocs to Edwin. 

Edwin. Pete, old friend, is that you ? For the love of heaven, give me 
water. 

Pete. Here it is, massa. {gives canteen — Edwin drinks . 

StClair. ( r. c, raising his head upon his hand) Water ! water ! I shall 
perish lor the want of water. 

Edwin. That voice ! Was it not Colonel StClair? 

Pete, (c.) I 'clar to goodness it is old massa. He seems to be near 
gone. 

Edwin. Give him voter — never mind me. 

StClair. {after drinkmg) Oh Edwin, that we should ever meet thus. 
I am severely wounded, and I fear I cannot hold out much longer. If you 
live to get home, tell your father triat I died upon the battlefield regretting 
my treason to the old flag. Tell me — that — you — for — give — {falls back. 

Edwin. Heaven knows how fully I pardon you. 

Willie, (r.) Help! Mother! Edwin, where are you-? 

Edwin. That voice, it is my little brother — quick Pete. 

Pete, {goes to him) Press de lord ! it is our little Willie. 

[raises Aim in Aw arms and carries him to Edwin. 

Willie. Oh, Edwin, brother, I am in such terrible pain. 

Edwin. Merciful heaven, for myself I could endure it, but to" see you suf- 
fer so, it nearly kills me. 

Enter several Confederate soldiers r., with lantern. Tkey pass from one to 

another. 

Willie. Never mind me, Edwin — I can't last long. 

Edwin. Pete, everything is growing dark around me — I am fainting. 

{the Confederate soldier* raise Edwin up and start off L. 

Edwin. Pete, if I die, tell my wife that I fell while doing my duty. 

Good-bye old friend — heaven bless you. {he is carried offL. 

The other Confederate soldiers raise Willie up and carry him off f.. By this 
ume the stage must be clear exc^t those u ho are lying down, so that the 
tableau of decoration of soldier' s graves may be represented from the plat- 
form at the rear of the stage. 



CURTAIN. 



24 THE SPY OF ATLANTA 

ACT V. 

SCENE FIBST. — Andersonville. The stockade across the rear of stage, be- 
hind which is a guard on duty. Prisoners discovered— among them are Edwin, 
Willie, Schneider and Capt. Mason. Great care should be exercised in the 
"make up" of the prisoners. The tableau of "Home" may be represented be- 
fore the first speech of Edivin. 

Edwin, (l. c. — rising) As I have lain here and fallen asleep, 1 have 
had a vision of my dear home, my wife and child. Why could I not have 
slept the sleep that knows no waking? This suffering is terrible. The 
dampness of the earth has penetrated to my very bones, and my blood 
seems to have centered in my brain, which feels as if it would burst. Great 
Heaven ! when is tins to end? 

Capt. M. {back of c) Edwin, friend, have courage — It may be that we 
shall be exchanged. 

Edwin. If it were only myself, I would try to bear it without a murmur, 
but Captain, 1 divided my l»st crust of Oread with this boy. ( Willie c. with 
Edwin) — Poor fellow, and yet it was not half enough. How can they tor- 
ture us in this manner? 

Enter Edward StClair, R. 1 e, 

Edw. Oh, you cursed Yankees, what's the matter with you ? 

Capt. M. Sir, in the name of heaven and humanity, give us something 
to eat. 

Edw. 1 nave something better to do than feeding a lot of Yankees at 
present. Edwin I%lion, you no doubt remember a scene which occurred in 
your lather's house, at the commencement of this war — howl was turned 
from your father's door like a dog. I swore at the time that I would have 
revenge, and now my time has come. Your wife would, no doubt, be 
glad to see you, in your present condition ? 

E<lwin. My wife! For the love of heaven, Edward StClair, you would 
not bring her here to see all this suffering? 

Edw. Would I not? Ha, ha, ha ! I have to inform you, that in reply to 
a letter which 1 wrote her, in which I told her of your condition, she is al- 
ready here. 

Edwin. Wretch! Fiend incarnate! You might have spared me this 
blow. 

Edw. {sarcastically) Good day, Mr x Edwin Dalton. I wish you much 
joy in witnessing the anguish of your wife, on beholding your condition. 

{exit r. Ik. 

Edwin. Boys my brain feels so strangely. I feel that I am on the verge 
of insanity. Heaven grant that 1 may know my wife when she comes. 

{goes l. 

Capt M. Boys, a few more shocks like this and our brave comrade will 
know us no more. Speak to him, Willie. 

Willie, {goes to Edwin) Brother Edwin, have courage. 

Edwin, {wandering) Who is this ?©Away — don't touch me. 
Willie. Brother, brother, don't you know me ? 

Edwin, {looks steadily at him a moment) Ah ! Willie, Willie, dear broth- 
er, it is you ! Thank heaven ! 

Enter Edward StClair, r., loith Maud. He points to Edwin, L. 

Edw. There. 

Maud, {o-vercome) Oh, heaven ! is that rny husband ? 
Edw. {txuttingly) Ha, ha, ha! 

Willie, {goes to Maud u., kisses her) Sister Maud, I fear i^lwin will not 
know you — lie is abrupt, erarv. 
■Maud. Ttjis 1- terrible I He must know me. {goes to Edwin, l., he turns 



THE SPY 0/ ATLANTA. 25 

aww/ and laughs wildly) Edwin ! Edwin ! I am your wife. 

Edwin, (wandering) My wife ! Oh, no ! I had a wife who loved me, Oh 
so well, (gazing into her face) but (laughs) no, no I you are not my wife. 

( turns L. 

Maud, [turns in agony to Willie) Oh, Willie ! Willie ! What shall I do ? 
What shall I do? 

Willie. Sister. I do not know. Have you not something with you — some 
picture that" he would know? 

Maud. I have the picture of our little girl, perhaps it will — here Edwin 
look at this, (he takes it) Do you not know her ? 

Edwin, (gazing at it) It seems that I have seen that face — long ago. 

Maud, (aside) Heaven grant it may succeed, (aloud) It is the picture 
of your little girl — Nannie. 

Edwin. , Nannie, (kissing the picture) Yes, yes. I know now, (recover- 
ing himself , and looking intently at Maud) and you are— no, I cannot be 
wrong— you are my wife — thank God. (embrace) Oh, why did you come 
here ? 

Maud. I could not stay from you. A letter Loin Edward StClsnr told me 
that if I would see you alive, I must come at once. 

Edw. < r.) Come, madam, this pleasant interview must close. 

He forcibly tears Maud from Edwin's arms and they exit r. L e. — Edvnn turns 
l., and buries his face in his hands. 

Willie. Captain Mason, I am so hungry, can't you give me something 
to eat ? 

Ca.pt 21. Would to heaven I could, my boy. 

Edwin. Bovs, we must have bread or die. Bread ! Bread ! 

All. Bread 1 Bread ! 

Enter Edward St Clair, R. 

Edio. What's all this noise about ? Stop it, or I'll give you a dose of 
cold lead. 

Edwin. For myself I do not ask it, but for this boy — a mere child — by 
the memory of your mother, do not refuse. (Edward turns away) He turns ; 
away ! (kneels) See Edward, I kneel at your feet, and implore you for even' 
a morsel for him. 

Willie. Edwin, brother, do not kneel to him. Get up — be a man. Let 
us die like true soldiers. Do not mind the cowardly traitor. 

Edw. (d rates his revolver) What's that you say, you young imp? 

Willie. I say that you are a miserable, cowardly traitor. Shoot me if 
you will, but spare my brother. 

Edwin. No, no, Willie — what would you do? 

Willie. Better to die, than to suffer so. 

Edwin. No, no ! Edward, you dare not do this terrible deed. 

Edw. I dare not? Ha, ha, ha ! 

(shoots Willie, who puts his hand to his breast. 

Willie. I am shot. 

All the prisoners except Edwin and Willie make a movement towards Edward. 

Edw. (to guard) Guard, the man who advances, shoot him instantly. 

As he retreats one of the prisoners follows, and the guard shoots him — exit 
Edward, R. 1 K. 

Edwin, (who has lain Willie upon the stage, and is holding his head in his 
lap) Willie, little brother, would that I could have been spared this. 
Willie. Brother Edwin — mother — where are you ? 

(several of the prisoners go to them. 
Edwin. Here I am. 



26 THE SPY OF ATLANTA. 

Willie. Kiss me. (Edwin 7cisses him) If I could only see mother before 
1 die. It is growing dark. I am getting weaker. 

Edwin. Poor little fellow ! Would to God you might be spared. 

Willie. Everything is so bright around me. I do not feel any pain, and 
I am not hungry now — do not cry Edwin — it is better as it is — good bye — I 
go — tell mother — mother (dies. 

Edwin, (slowly lays him down) Boys, Willie is dead — Never more shall 
we look upon his brave young face in life. Oh! who will tell his mother 
of this? Poor boy, he so much wished to see her. (rises, going back a few 
steps — turns and looks at. the body, and with a passionate cry, flings himself 
doxon by its side) Oh, Willie, how can I give you up? Boys, I fear again 
my reason will leave me. (goes a little back from, body, wildly presses his 
forehead — turns and sees his comrades around Willie) May curse after curse 
fall upon these incarnate fiends, who follow us to our death. They are 
murderers — everyone. Curse them ! Curse them. (falls c. 

Capt M. Come boys, let us lay poor Willie out. (they lay the body on a 
blanket back of c.) Place this little flag upon his breast, an emblem of the 
cause he so faithfully served. Now let us pray that this may soon end. 

(they kneel in an attitude of prayer. 

A pause — and in the distance is heard the ''Star Spangled Banner," which 
gradually grows louder, and finally, enter Charlie JJalton with Union sol- 
diers, U. S. flag flying, with them Edward StClair, a prisoner, and Maud. 
She goes to the side of Edwin. 

Charlie. Boys, cheer up — we have come to release you. 

(general hand shaking* 

Capt M. We are glad to see you. 

Charlie, (sees Jake) Ah ! here is Jake to. 

Jake, (comes forward) Yes, all dere vas left of my peautiful form. 

Charlie. But where is Edwin ? 

Capt M. I am afraid you have come too late. There he is. 

(Maud moves to L. and weep s. 

Charlie. Maud, is he dead ? 

Maud. No, not dead, but I fear insane. 

Charlie, (raising Edwin) Brother, do you not know me. I am your 
brother Charlie. 

Edwin. Charlie! (embrace) Why did you not come sooner, and save 
Willie — he is dead. 

Charlie, (with emotion) Dead ! 

Capt M. Yes, here is his body. (removes blanket from Willie's face. 

Charlie. Show me the fiend who has dared to do this deed, that I may 
rid the earth of such a monster. 

Capt M. (points to Edward, R.) There he stands. 

Edw. Fiend, did you say? You will remember the oath I made, when, 
your brother turned me from your father's house. And have I not well 
kept it? Yet the sacrifice was dearly made — her that I loved better than 
ought else on earth, deserted me — my father killed — ray mother dead — yet 
as I am to die, I would not recall one circumstance. I did shoot that boy as 
I would have shot all of you — and now, fire, you cowardly Yankee. Fire. 

( Charlie shoots and Edward falls dead. 

CURTAIN. 



THE SPY OF ATLANTA. 27 

ACT VI. 

SCENE FIRST.— Home of Farmer Dalton, as in act first. Newspapers, 
chairs, etc. Farmer Dalton, Mrs. Dalton, Carrie and Maud discovered. 
Farmer Dalton is reading a newspaper. 

Farmer D. Well! this is indeed glorious news. Lee has surrendered, 
ana the war is now at an end. {pause) Yes, and here is something still 
better — the regiment our boys are in ia mustered out, and they will be at 
home either to-day or to-morrow. 

Mrs D. Thank heaven, our dear boys will soon be at home, to endure 
hardships and privations no more — all but one — little Willie, we shall nev- 
see his bright face again on earth. Oh, victory, dearly bought. Carrie 
(or Maud or both) sing "The Vacant chair." 

Carrie. Yes, Willie's chair is vacant, and made so by whom ? I never 
can feel thankful enough that, though it would seem a direct interposi- 
tion ol a kind Providence, 1 was saved f-om a union with that worst of all 
traitors — Edward StClair — a man whom I once thought I loved. 

Maud. Yes, Carrie, what you then considered a sacrifice has proved a 
blessing. Thus do the ways of Providence manifest themselves for our 
good. But sister, Captain Mason is much handsomer, and has proved him- 
self a true man. He has been a friend and companion of our dear boys 
through all of their hardships. Ah ! I see by your blush that I have struck 
the right chord. Since Edwin and Captain Mason have been at home, I 
have noticed the growing attachment between you. Well, Carrie, I con- 
gratulate you. He is a noble man. But sing the song for us. 

Carrie. Well, I will do so, though it brings up the past in a way that I 
fear will nearly choke my utterance. 

She .rings "The Vacant Chair," accompanying herself with a guitar or organ. 
Maud may assist or sing alone, according to circumstances. During the 
song all are much affected. 



*THE VACANT CHAIR. 

We shall meet, but we shall miss him, 

There will be one vacant chair; 
We shall linger to caress him, 

While we breathe our evening prayer. 
When a year ago we gathered, 

Joy was in his mild blue eye, 
But a golden chord is severed, 

And our hopes in ruin lie. 

Chorus. 
We 8hall meet, but we shall miss him, 

There will be one vacant chair ; 
We shall linger to caress him, 

When we breathe our evening prayer. 
At our fireside, sad and lonely, 

Often will the bosom swell 
At remembrance of the story, 

How our noble Willie fell ; 
How he strove to bear our banner 

Thro' the thickest of the fight. 
And uphold our country's honor, 

In the strength of manhood's might. 

Chorus. 

The words of , "The- Vacant Chair" are used by permission qf S. Brain? 
ard's Sons, Cleveland \ who own the copyright. 



28 THE SPY OF ATLANTA. 

True they tell us wreathes of glory 

Ever more will deck his brow, 
But this soothes the anguish only 

Sweeping o'er our heartstrings now. 
Sleep to-day, O early fallen, 

In thy green and narrow bed, 
Dirges from the pine and cypress 

Mingle with the tears we shed. 

Chorus. 



Farmer D. (wiping his eyes) Come, come, this will never do. Cheer up, 
it will never do to meet our boys witn such sorrowful faces. 

Enter Pete l. — greatly excited. 

Pete. Whoop ! De boys hab come ! De boys hab come ! De company is 
down to de depot, and dey will be up here pretty soon. Gosh, dis old nig- 
p-a's glad ! (dances about and lays upon the stage, and rolls. 

Farmer I) . Well, well! we must get ready to give the boys a rousing 
reception. Come, Pete, get up— are you going crazy ? 

Pete. Oh, massa, dis nigga couldn't help it— he's so glad. (rolls. 

Farmer D. (takes Pete by the ear and leads him, c.) Come, Pete, straight- 
en up, I want to talk to you. 

Pete. Yes, massa ! 

Farmer D. I want you to go down to the (here mention some hotel) 

and tell Mr. (mention proprietor) to get up a dinner for the whole 

company, on my account. 

Pete. ' Yes, m»ssa. (starts l. 

Fanner D. See here, Pete. 

Pete, (c.) Yes. massa. 

Farmer D. Go down to 's Ice Cream Saloon and tell him I want a 

dozen freezer's full ol cream, to be sent over to 's hotel, and charge it 

to me. 

Peie. (starts slowly) I'll fly. 

Farmer D. I don't believe you know what you are sent for. 

Pete. Yes I does, massa, I's gwine to 's £hoe Store to get a dish 

ob ice cream, with a dozen spoons in it. 

Farmer D. I knew you didn't know what you were going for. I said 
one dozen freezers — that is one dozen cans. 

Pete. Now I know. One dozen if he can — Say, massa, if he can't, what 
den ? 

Farmer D. Oh, you crazy fellow ! you are sure to blunder — I'll write it 
for you. (writes and, hands to Pete. 

Pete. Shall I take dis to de post office ? 

Farmer I). No, take it to Mr. at the hotel. (Pete starts L.) 

See here, stop at *s and tell him to send up ten dozen bottles of cham- 
pagne, and Pete be careful that you don't get drunk before the boy's come. 

Pete. No, massa. (aside) Golly don't I wish de boys was here, (exit l. 

Farmer D. Well, mother, girls, fly around and let us get ready to go 
and meet the boys. 

Enter Charlie, Edwin and Capt. Mason l. — Capt. Mason has one arm in sling. 

Charlie. Hurrah ! here we are. (embraces all — general hand shaking. 

Capt M. Edwin and I, while down town, heard that the company were 
expected this morning, so we waited for them. (crosses to Carrie. 

Edwin. Well, father, mother, girls, if you are all ready, let's go and 
meet them. (they all exit l. 



THE SPY OF ATLANTA. 29 

SCENE SECOND. — Street in first grooves — Bummers march. Soldiers 
march across stage L. to R., with guns in fantastic positions, carrying chick- 
ens geese, figs, etc., and singing " Shermans March Through Georgia." March 
around to h. i E., where soldiers leave chickens, pigs, etc., and bring guns to 
right shoulder shift arms and march across stage again, with Col. Harrison in 
command. After marching off stage ; soldiers form in line, behind street scene, 
across r. of stage, quickly, with Rebel soldiers across L. of stage, kneeling on 
one knee and facing Union soldiers, holding guns ready to drop at signal, r. c. 
stands Gen. Sherman and Gen. Jos. E. Johnston on l. c, facing htm, in the 
act of handing sword to Gen. Sherman. Back of scene, on platform stands 
tableau ladies, as in first tableau, except that South Carolina is in the act of 
handing dagger to Goddess, who stands ready to receive it. The other states 
facing toward Goddess; at first signal, draw front flats ; at second signal , 
light red fire, and draw back flats disclosing Goddess and the States , at third 
signal, South Carolina hands dagger to Goddess, Johnston hands sword to 
Sherman, and Rebel soldiers drop guns on stage and bow heads. 

CURTAIN. 

NOTE. — For tableau background have cloud scene painted, or if this is im- 
practicable, use large flag to cover back scene with — although cloud scene 
should ahcays be used ichcn it is possible. 



To Our Customer*. 

Amateur companies frequently have trouble in procuring PTtvs well adapted to their 
wants, frequently ordering perhaps five dollars worth in single copies, before anything 
suitable can be found. All this can be done away wrth. Our catalogue embraces plays 
suitable for any and all companies, and if our friends will write to us, stating the re- 
qirrments of their companies, there need be no trouble in this line, at least. If a tem- 
peranc society wants- plays, we have something for them. If a company wants some- 
thing wnieh is verv funnv, we can suit them, In fact we have dramas, farces, comedies 
and tragedies, winch will "suit you. Enclose 15 cents per copy for as many sample copies 
as you may need, and we guarantee to suit you, if you will state the size of your compa- 
ny and whether best adapted to the serious or funny. Give us a trial, at least. 

A. D. AMES, Pub., Clyde, Ohie. 



T 



QT)QTiQ^Q^G^€^Q^Q ( OQ'DQ^Q'OQ'0'aOQ'OQ f OOV)Q^)QAJ i OZ) ' 



% 



AMIES' §T1^(DAR1> AUTO ^II^OR S)RA!WA. 



40. THAT MYSTERIOUS BUNDLE. A Farce in one act, by Hattie Lena 
Larnbla. 2 male, 2 female characters. Costumes, modern. Scenery, a plain 
room. A Variety peice, yet can be performed by Amntuers, etc. A Mysterious 

bundle figures in this farce, which contains a . Time of performance, 20 

minutes. 

41. WON AT LAST. A Comedy Drama in 3 acts, by Wybert Reeve, 7 male. 
3 female characters. Costumes modern. Scenery, drawing-room, street ana 
otiice. Every character is good. Jennie Hight starred on the character of "Con- 
stance" in this play. Amatuers can produce it. Time of performance, 1 hour 
45 minutes. 

42. DOMESTIC FELICITY. A Farce in one act, by Hattie Lena Lambla, 1 
male, 1 female character. Costumes modern. Scene, a dining room. The name 
fully describes the piece. Very funny. Time of performance, fifteen minutes. 

43. ARRAH DE BAUGH. A Drama in 5 acts, by F. C. Kinnaman, 7 male, 
5 female characters. Cot>tumes modern. Scenes, exteriors and interiors. A 
most exquisite love story in a play, abounding in scenes of great beauty. The 
depth of woman's love is beautifully shown. Time of performance about two 
hours. 

44. OBEDIENCE, OR TOO MINDFUL BY FAR. A Comedietta in one 
act, by Hattie Lena Lambla, 1 male, 2 female characters. Costumes modern. 
Scenes, plain room and bed room. An old fellow who thinks he is very sick, be- 
comes vely peevish and particular. A plot is formed to break him of his foolish- 
ness. Very amusing, lime of performance twenty minutes. 

45. ROCK ALLEN THE ORPHAN, OR LOST AND FOUND. A Comedy 
Drama in one act, by W. Henri Wilkins, 5 male, 3 female characters. Costumes 
modern. Scenes interiors. Time, during the Rebellion. This play represents 
the real "deown easi" characters to perfection. An old man and woman are al- 
ways quarreling, and their difficulties, are very amusing. Time of performance, 
one hour and twenty minutes. 

40. MAN AND WIFE. A Drama in five acts, by H. A. Webber, 12 male, 7 
female characters. Costumes modern. Scenery exteriors and interiors. This 
drama is one of'in tense interest and is a faithful dramatization of VVilkie Collins' 
storv of the same name. This is said by competant critics to be the best dram- 
atization published, and it should be in the hands of every dramatic company 
in the country. It has become a great favorite. 

47. JN THE WRONG BCX. An Ethiopean Farce in one act, by M. A. D, 
Oifton, 3 male characters. Costumes, peddler's and darkey's dilapidated dress. 
Scene, a wood. Characters repiesen ted, a darkey, au Irishman and a Yankee. 
Time of performance twenty minutes. 

48. SCHNAPPS. A Dutch Farce in one act, M. A. D. Clifton, 1 male, 1 fe- 
male character. Costumes, burlesque German. Scene, a plain room. A neat 
little piece for two Dutch players, introducing songs and dances. Time of per- 
formance, 15 to 30 minutes, at the pleasure of the' performers 

4.9. DER TWO SUBPRISES. A Dutch Farce in one act, by M. A. D. Clifton, 

I male, 1 female character. Costumes, peasant's, and old man's and old woman's 
dress. Scene, a kitchen. A very neat little sketch, introducing songs and 
dances. Time of performance, about twenty minutes. 

50. HAMLET. A Tragedy in five acts, by Shakespeare, 15 male, 3 female 
characters. Probably no other play by the immortal Shakespeare is produced 
as frequently as this one. It needs no description. Time of performance about 
two hours and thirty minutes. 

51. RESCUED. A Temperance Drama in two acts, by Clayton H. Gilbert, 5 
male, -8 female characters. This play visibly depicts the dangerous consequen- 
ces of falling into bad company, the follies of the intoxicating bowl, and shows 
that even the pure love of a noble girl will be sacrificed to the accursed appetite. 
The solemn scenes are balanced by the funny portions, and all in all the play 
is a grand success. Costumes modern. Scenes, interiors some neatly and some 
handsomely furnished. Time of performance one hour. 

52. HENRY GRANDEN. A Drama in three acts, by Frank Lester Bingham, 

II male, 8 female characters. This drama is sensational in a high degree, 
abounding in thrilling scenes among the Indians, hair breadth escapes, etc. It 
should be purchased by every dramatic company that wish something to suit the 
public. Costumes not hard to arrange. Time of performance two hours. 



) QGQ/OQGQ€iWQCQa<^ 



a 



a 







$ 

£ 



8 



AU**ES' STANDARD AI¥I> "?II>OR »KAHA. 







; 



<P 



$ 



53. OPT 7iV THE STREETS. A Temperance Drama in three acts, by S. N. 
Cook, 6 male, 4 female characters. Wherever this drama has been produced it 
has been received with the greatest enthusiasm. Listeners have been melted to 
tears at the troubles of Mrs. Bradford, and in the next scene been convulsed 
with laughter at the drolleries of North Carolina Pete. Costumes modern. 
Scenes, interiors. Time of performance, about one hour. 

54. THE TWO T. J's. A Farce in one act, by Martin Beecher, 4 male, 2 fe- 
male characters. Costumes of the day ; scene an ordinary room. This is a cap- 
ital farce and has two male characters excellent for light and low comedians. 
Good parts also for old and young lady. Time of performance thirty minutes. 

55. SOMEBODY'S NOBODY. A Farce in one act and one scene, by C. A. 
Maltby, 3 male. 2 female characters. Scene, interior. Easily arranged in any 
parlor or hall, as it can be produced without scenery. Costumes modern with 
the exception of Dick Mizzle's which is hostler's and afterwards extravagant 
fashionable. This most laughable farce was first produced at the Drury Lane 
Theater, London, where it had a run of one hundred and fifty consecutive 
nights. It is all comic, and has excellont parts for old man, walking gent, low 
comedy, walking lady and chambermaid. Time of performance, 30 minutes. 

56. WOOING TINDER DIFFICULTIES. A Farce in one act and one scene, 
by John T. Douglass, 4 male, 3 female characters. Scene, handsomely furnished 
apartment. Costumes of the day. Probably no poor fellow ever wooed under 
more distressing difficulties than the one in this farce. It all comes about 
through a serious misunderstanding. A crusty old man, and a quarrelsome and 
very important servant go to make the farce extremely funny. Time of per- 
formance thirty minutes. 

57. PADDY MILES 1 BOY. An Irish Farce in one act, by James Pilgrim, 5 
male, 2 female characters. Scenes, exteriors and interiors. Costumes eccentric, 
and Irish for Paddy. Probably there is not an Irish farce published so often 
presented as this one, but it is" always a favorite and is always received with 
great applause. Time of performance 35 minutes. 

58. WRECKED. A Temperance play in two acts, by A. D. Ames, 9 male, 3 fe- 
male characters. Scenes, drawing room, saloon, street and j ail. Costumes mod - 
era. The lessons learned in this drama are most excellent. The language is 
pure, containing nothing to offend the most refined ear. From the comfortable 
home and pleasant fireside, it follows the downward course of the drunkard to 
the end. All this is followed by counterfeiting, the death of the faithful wife 
caused by a blow from the hand of a drunken husband, and finally the death of 
the drunkard in the madhouse. Time of performance about one hour. 

59. SAVED. A Temperance Sketch in two acts, by Edwin Tardy, 2 male, 3 
female characters. Scenes, street and plain room. Nicely adapted to amatuers, 
Time of performance twenty minutes. 

60. DRIVEN TO THE WALL, OR TRUE TO THE LAST. A Play in four 
acts, by A. D. Ames. 10 male and 3 female characters. For beauty of dialogue, 
startling situations, depths of feeling there is none on the American Stage supe- 
rior to^this one. The plot is an exceedingly deep one, and the interest begins 
with the first speech, and does not for a moment cease until the curtain falls on 
the last scene of the last act. The cast is small and the costumes easily arranged. 
It can be played on anv stage. It has parts for Leading Emotional Lady, Juve- 
nile Lady, Leading Man, Villain, Character Old Man. First Old Man, Comedy, etc. 

61. NOT AS DEAF AS HE SEEMS. An Ethiopean Farce in one act. 2 
male characters. Scene, a plain room. Costumes exagerated and comic. Ex- 
tremely ridiculous and funny. Time of performance 15 minutes. 

62. TEN NIGHTS IN A BAR-ROOM. A Temperance Play in five acts, by 
Wm. W. Pratt, from T. S. Arther's novel of the same name— 7 male, 3 female 
characters. This edition is rewritten, containing many new points, and is the 
best ever presented to the public. Nothing need be said in its praise, as it is too 
well known. It is often played, and always successfully. Time of performance 
about two hours. 

63. THREE GLASSES A DA Y, Or, The Broken Home. A gTand Moral and 
Temperance Drama, in two acts, by W. Henri Wilkins, 4 male, 2 female charact- 
ers. Costumes modern. Scenes, interiors. First-class characters for Leading 
Man, Villain, a genuine down-east Yankee, which is also very funny ; also Lead- 
ing Lady, and a tip-top Comedy Lady. If a company wishes something with an 
excellent moral, at the same time running over with genuine humor, buy this; 
Time of performance about one hour and thirty minutes. 







<h 



(o 



O 



g^ e* ^ ^ €* <e^ ^e er <g~ <g*r .o „o - ~ c t vp? ' .o^o:. o^ooc^acc c* 

] ATOES' STA^DAHI) AI\1> MirVOK I»KAJHA. 



I 



act, hy W. Henri Wilkins. 6 male, 
ins' plays, this is first class. The 
D using, andproves an immense suc- 
room. Costumes modern. Time of 



64. THAT BOY SAM. An Ethiopoan Farce in one act, hy F. L. Cutler. 3 
male, 1 female character. Scene, a plain room and common furniture. Cos- 
tumes, comic, to suit the characters. Very funny, and effectually gives the 
troubles of a "colored gal" in trying to have a beau, and the pranks of "that boy 
Sam." Time of performance twenty minutes. 

65. AN UNWELCOME REllRN. A Comic Interlude, in one act, by Geo. 
A. Munson. 3 male, 1 female character. Seine, a dining room. Costumes, 
modern. Companies will find this a very amusing piece, two negroes being very 
funny — enough so to keep an audience in the best of humor. Time of perform- 
a nce, twenty minutes. 

66. HANS, THK DUTCH J. P. A Dutch Farce in one act, by F. L. Cutler, 
3 male, 1 female character. .An exceedingly funny piece. Hans figures as a 
Justice in the absence of his master, and his exploits are extremely ludricous. 
Costumes modern. Scene, plain room. Time of performance, twenty minutes. 

67. THE FALSE FRIEND. A Drama in two acts, by Geo. S. Vautrot. 6 
male, 1 female character. Simple scenery and costumes. First class characters 
for leading man, old man, villain, a rollicking Irishman, etc. also a good lead- 
ing lady. This drama is one of thrilling inlerest, and dramatic companies will 
invariably be pleased with it. Time of performance, one hour and forty-five 
minutes. 

68. THE SHAM PROFESSOR. A Farce in one act, by F. L. Cutler. 4 mule 
characters. This intensely funny afterpiece can be produced by any company. 
The characters are all first class, and the "colored individual" is especially fun- 
ny. Scene, a plain room. Costumes, simple. Time of performance, about 
twenty minutes. 

69. MOTHER'S FOOL. A Farce in on. 
1 female character. Like all of Mr. Will 
characters are all well drawn, it is very a 
cess wherever produced. Scene, a simple 
performance, thirty minutes. 

70. WHICH WILL HE MARRY. A Farce in one act, by Thomas Egerton 
Wilks. 2 male, 8 female characters. Scene, a street. Costumes modern. Easi- 
ly arranged on any stage. A barber hears that one of eight women has fallen 
heir to some money, not knowing which, he makes love to them all. This, to- 
gether with the revenge the females have upon him, will prove laughable enough 
to suit any one. Time of representation, thirty minutes. 

71. THE REWARD OF CRIME. OR THE LOVE OF GOLD. A Drama of 
Vermont, in two acts, by W. Henri Wilkins. 5 male, 3 female characters. A 
drama from the pen of this author is sufficient guarantee of its excellence. 
Characters for old man, 1st and 2d heavy men, juvenile. A^ splendid Yankee, 
lively enough to suit any one. Old woman, juvenile woman, and comedy. 
Costumes modern. Scene, plajp rooms and street. Time of performance, one 
hour and thirty minutes. Easily placed upon the stage, and a great favorite 
with ainat tiers. 

7»jL THE DEUCE IS IN HIM. A Farce in one act, by R. J. Raymond. 5 

!!jaiare, IJemale character. Scene, a plain room. Costumes modern. This farce 

'' is easily' aijKanged, and can be produced on any stage, in fact, in a parlor. The 

pranks of the doctor's boy will keep an audience in roars of laughter, every line 

being full of fun. Time of performance, thirty minutes. Order this, and you 

will be pleased. 

73. AT LAST. A Temperance Drama in three acts, by G. S. Vautrot. 7 male 
1 female character. This rs. one of the most effective temperance plays ever pub- 
lished. Good characters for leading man, 1st and 2d villain, a detective, old 
man, a Yankee, and a capital negro, also leading lady. The temptations of city 
lifejpre faithfully depicted, the effects of gambling, strong drink, etc. Every 
company that orders it will produce it. Costumes modern. Scene, Mobile, 
Time of performance, one hour and thirty minutes. 

74. HOW TO TAME YOUR MOTHER-IN-LAW. A Farce in one act, by 
Henry J.. Byron. 4 male, 2 female characters. Scene, parlor, supposed to be in 
the rear of a grocers shop. Costumes modern. Whiffles the proprietor of the 
grocery, ha?Jla mofther-in-Iaw who is always interfering with his business. Vari- 
ous expediems are resorted to to cure her— a mutual friend is called \\ who, by 
the aid of various disguises frightens the" old lady nearly to death, fina.ly Whif- 
fles gets on a "ge-lorious drunk," and at last triumphs. A perfect success. { ) 
Time of performance, thirty-five minutes. ($ 



' 



AMCST $TA^»4RD Ai*l> MINOR DRAMA, 

13 7W? SERF. A Tragedv, in five acts, by R. Tal!)Ot Esq.. 6 males, 3 fe- 
iii lie characters. Good part* tor 1st and 2nd Tragedian, and Tragic lady. The 
character of Ossip is very powerfully drawn. Tne history of his early love— of 
his marriage— the indignities he is made to suffer, and the death of his wife, is 
highly wrought; and his sarcastic levity and deep revenge are unfolded with a 
terrible earnestness. Scene, apartments in castle. Time about 2 hours and a half. 
17. HINTS ON ELOCUTION AND HOW 10 BECOME AN ACTOR. This 
valuable work has just been published, and contains valuable instructions that 
amateur actors, and every one that ever expect to make a favorable appearance 
in public, cannot do without it. It teaches you how to become a good and ef- 
ficient reader, reciter, debater, a good actor, how to hold an audience silent, and 
treats on every subject that is necessary to be acquired in order to become a 
good and pleasing actor. 
IS THE POACHER'S DOOM. A Drama in 3 acts, curtailed and arranged 
bv A. D. Ames, 8 male, and 3 female characters, A thrilling drama, always a 
faVorite. Leading man, villiau, two comedies, old man, leading lady, comjdy 
lady, etc. Costumes modern. The situations in this play, are most excellent. 
Time of performance, 1 hour and a half. 
19. DI" I DREAM IT? A Farce in one act by J. P. Wooler. 4 male, 3 fe- 
male characters. Scene, drawing room. The question "Did I Dream it" is what 
the farce is founded upon. Very strange things happen, and a nice little love 
scrape helps to color the plot. A good piece. Costumes simple, lime ot per- 
formance 45 minutes. 

20 .4 TICKET OF LEA VE. A Farce in one act, by Watts Phillips, 3 male, 
2 female characters. A play written by this author is sufficient guarantee ot 
its excellence. Scene, a sitting room, plain furniture. Costumes modern, lime 
of performance, 35 minutes. This is an excellent farce. 

2J 4 ROMANTIC ATTACHMENT. A Comedietta in one act, by Arthur 
Wood, 3 male, 3 female characters. A most excellent little play, well adapted 
for school exhibitions, lodges, amatuers, etc. Th ■ scenery is simple, being a 
plain room, is always a favorite with every company which plays it. Time ot 
performance, 35 minutes. 

92 CAPTAIN SMITH. A Farce in one act, bv E. Berrie, 3 male, 3 female 
character)}. This excellent little farce is equally well adapted for school exhi- 
bition., etc., as No. 21. The dialogue is sparkling, nor a dull speech from be- 
ginning to end. The plot simple, the piece easily performed. S:-ene, a plain 
room. "Costumes modern. Time of performance, 30 minutes. 

•>•! MY HEARTS IN THE HIGHLANDS. A Farce in one act, by Wil- 

Seene, exte- 
ce is eas- 



; 

; I 

i; 



i 



i 



i 



i> 



liam Brongh and Andrew Halliday, 4 male, 3 female characters. See 
rior of house in the Highlands. Costumes, simple Highland. This far 
ilv produced and verv effective is full of fun, caused by the mishaps of two char- 
acter-,' who go from the city to the country, and do not know a pig from a roe- 
buck, nor a turkey iron an ostrich. Time of performance, 25 minutes. 

24 HANDY ANDY. An Ethiopean Farce in one act, 2 male characters. 
Sceneffe kitchen. Costumes, exagerated and comic. The difficulties in procu- 
ring a good and suitable servant are most ludicrously set forth in this farce. 
Time of performance, 20 minutes. 

25 SPORT WITH A SPORTSMAN. An Ethiopean Farce, in one act, 2 
male characters. Costumes, exagerated sportsman's dress, and boyish dress. 
Scene, a wood. Time of represcuta.i ,,u, Z0 minutes. A tip top negro farce. 

20 
Diniom 
Swiss 



THE HWNTER OF THE ALPS. A Drama in one act, by William 
I 9 male 4 female characters. Scene in-door and forest. Costumes, 
Kosalvi, the hunter of the Alps leaves his home to procure provisions to 



to 
id demands, 



brothers, 
f per- 



I 



Sfe 



keen his wife and children from starving, meets l-elix, a torn, anu uema 
and finally implores of him money. Felix moved with compassion gives 
money and goes with him to his hut, and there discovers they are bro ^ 
There is some fine comedy in it. The story is beautifully told, lime o 
formanee 1 hour. 

27 FETTER LANE TO GRAVESEND. An Ethiopean Farce mi one act, 
2 male characters. Scene, plain room. Costume, exagerated and comic The 
two characters, Ike and Hvstericks are very funny, and will keep an audience 
in roars of laughter. Short, easily produced, and a tip top farce, lime of per- 
form nice 15 minutes. 

. - - : '- _ ,.;:::: ? ^ ^ ~ n ^ n rtann ry> reooccr:^ i.o * 



% 



LIBRARY OF CONGRESS 



A. D. AMES, PUBLI! 




017 1984579 / 
OUR B USINESS- k - «-* „ ^ ^„. 



PLATS. We sell everything in the line of dramas and farces, and call 
tho attention of our numerous patrons to our own liet. We think it em- 
braces play which will suit either professional or ama'teur companies. If 
however you need something, published elsewhere, do not hesitate to send 
us your orders — our stock is very large, and we fill promptly.— Stocks of 
every publisher on hand. 

LETTERS OF INQUIRY answered promptly, and we solicitcorrespond- 
ence. If the business upon which you write concerns you alone, enclose a 
3 cent stamp for reply. Amateurs who are puzzled upon any questions 
relative to the stage will be answered explicitly, and to the best of our abil- 
ity. 

MANUSCRIPT PLAYS. Parties who have Mss. to dispose of should 
write to us. We will publish whatever may be meritorious, on terms which 
will be satisfactory. 

SHEET MUSIC. Orders for sheet music, or music books will be re- 
ceived and filled as promptly as possible. 

CATALOGUES will be sent free to any address. Send a postal card, 
with your address, and the catalogue will be sent by the next mail. 

HOW TO ORDER. It would perhaps seem to every one that any di- 
rections as to 'how to order' plays was entirely superfluous ; but not so. 
We have many instances, and remember to have been severely censured by 
parties, some cf whom tailed to sign their name to their order, or failed to 
write the state, etc. In the first place, begin your order with the name oi 
your post office, county and state. If you order from our list, it is not nec- 
essary to designate, only by giving the name of the play ; but i!' from the 
lists of other publishers, state the publishers name, if you know it. Do 
not write your letters of inquiry on the same sheet with your orders, ami 
make the order alwaysaB brief as possible. When completed do not fail to 
sign your name very pJahdy.. Attention to these rules will insure the filling 
of your orders, by return mail. Postage stamps of the denomination of 1, 
2 and 3 cents, will be taken in any amount less than $3.00. 

PLAYS TO SUIT COMPANIES. Amateur companies frequently have 
trouble in procuring Plays well adapted to their wants, frequently ordering 
perhaps five dollar's worth in single copies, before anything suitable can 
be found. All this can be done away with. Our catalogue embraces playa 
suitable for any and all companies, and if our friends will write to us,state- 
t>nts of their companies, there need bo no trouble, in this 
a temperance society wants plays, we have something for 



n< r the r< 



'M 1 



line a I least. 

I hem. If n e< 

I hem. In I' io. 

suit yon. Km 

and we guarantee to 

a. i.l wheth r best ad 



iv wants something which 
have dramas, farces, tragedies ; 
1 a cents per copy, for as many 
> suit you, if you will state tin 
pted t< 



the serious or funny 



rv funny, we can suit 
ml comedies which will 
•opies as you may need, 
size of your company, 
Give us a trial at least. 



MAGNESIUM TABLEAU LIGHTS. There is scarcely a person who 
has not been annoyed by the smoking of colored tires, which are so often 
used on tableaux, and whole scenes in dramas have been ruined by the 
coughing and noise always attendant on their use. We earnestly recom- 
mend the use of the Magnesium lights. They can be ignited with a common 
match, and burn with wonderful brilliancy. There is no danger in their use; 
they make no smoke and are cheap. Price, 25 cents each, by mail, post 
paid. Those who do not know how to burn them, will be instructed by 
addressing the publisher. 



